Broken Arrow, Oklahoma native JD McPherson is a roots rocker with a fresh take on early American rock 'n' roll and R&B. As a teenager, he played in a series of punk rock bands before moving toward a more roots-influenced sound with projects like The Poison Okies and The Starkweather Boys. McPherson took a chance and sent a demo recording to Jimmy Sutton, a heavy hitter in Chicago's roots and R&B scene. Sutton then agreed to produce McPherson's 2010 debut album, Signs and Signifiers, which was re-released in 2012 by Rounder Records and reached #47 on Billboard's Rock Albums chart.

In February 2015, McPherson released his followup, Let the Good Times Roll. Produced by Mark Neill (Los Straitjackets, The Black Keys), the album also features "Bridgebuilder," a track co-written with the Keys' Dan Auerbach. In summer 2015, McPherson performed at the UK's legendary Glastonbury Festival before heading out on a lengthy North American tour.

Danny Tamberelli is one of the few child actors to successfully make the transition from pre-teen stardom to adjusted adult. In the '90s, Tamberelli starred on Nickelodeon's hit TV series,The Adventures of Pete & Pete, whichdipicted two brothers, both named Pete, who found themselves in unpredictable situations. Tamberelli played "Little Pete," the rebellious younger brother who often insulted people and made brash decisions. The show and character were a hit, turning Tamberelli into a child celebrity who rubbed elbows with future A-listers in the making.

Tamberelli recently visited Amoeba Hollywood for some record digging. These days, in addition to hosting The Adventures of Danny & Mike podcast Tamberelli is also the bass player and singer in the band Jounce. In our latest "What's In My Bag?" episode, Tamberelli finds some great albums, including classic So Cal punk, soul and rock albums. First off, he digs up a copy of the Angry Samoans' The Unboxed Set. He follows that up with What Makes A Man Start Fires?by the Minutemen. Tamberelli was happy to find a rare vinyl pressing of Brian Eno & David Byrne's My Life In The Bush Of Ghosts to which he says, "I go into a lot of record stores and I ask them if they have this copy and I should have just come here all along."

S.F. psych-rockers Thee Oh Sees’ cult seemed to overflow with two great albums released last year, the scuzzy lo-fi pop of Castlemania and its more acid-tinged follow-up, Carrion Crawler/The Dream. Putrifiers II works off that momentum and delivers on its promise, scaling back the noise of their more rambunctious moments to offer hypnotic, low-key psych-pop. “Wax Face” features some of Thee Oh Sees main man John Dwyer’s idiosyncrasies, with wacked out harmonic guitarwork and echoing, screechy vocals, but with that familiarity out of the way, the album’s next two songs feel new for Dwyer, as “Hang a Picture” is nostalgic, even sweet jangly pop, and “So Nice” takes a Velvets-inspired trip through stately drone. “Flood’s New Light” sounds like a cleaned-up version of the off-kilter Turtles-style garage rock the band previously produced, and with its cleaner production, Dwyer’s pop songwriting smarts come through more clearly, as does his way of subverting his pop arrangements with slightly atonal melodies. As the album’s noise-and-space epic title track flows into the ethereal, strange ’60s pop of “We Will Be Scared,” it becomes clear this is Dwyer’s strongest material to date. For all his prolificacy, Putrifiers II is remarkably consistent and a fine statement of purpose moving forward for Dwyer.

The XX dig further into their shrouded corner of the universe with Coexist, an album that finds the trio even more assured in producing their minimalist, romantic sound. “Angels” opens the album breathtakingly as Romy Madley Croft’s vocal coaxes intensity with just a few simple refrains. Co-vocalist Oliver Sim pulls a similar trick on the yearning “Missing,” while “Chained” is one of the best examples yet of how Jamie Smith’s production meshes perfectly with Madley Croft and Sim’s simple yet divine vocal interplay and subtle guitarwork, its beats coming in offtime to break the spell at just the right time. Coexist works when its trio supports each other with the just the right amount effort, such as on “Reunion” and “Sunset,” in which Smith’s lush keyboards and muffled beatwork provides a perfect backdrop in which the vocalists can swim, or when Smith largely removes himself for the first half of the haunting “Tides” before coming in with his most pronounced beat of the album. At times it threatens to blow away in the wind, given its lightness of touch. But taking the view that there’s a time and place for most music, Coexist plants The XX firmly in nighttime music territory, and for such times — for sleep, romance, introspection — there’s nearly nothing better to suit the mood.

After spending the better part of a decade producing huge, wall-of-sound, Jesus & Mary Chain-style guitar noise, The Raveonettes continue the scaling back of their sound begun on the darker, unfairly maligned Raven in the Grave on Observator. Though it still eschews the campiness that marked much of The Raveonettes earlier work, Observator is a sunnier affair than Raven, full of sparkling guitarwork and Sune Rose Wagner and Sharin Foo’s twinlike harmonies. The beginning songs on Observator sound like a back-to-basics approach to their sound, Buddy Holly melodies over tinny beats, but the Ride-like rush of “Sinking With the Sun” and lovelorn single “She Owns the Street” display an interest in jangle pop, without as much of the shoegaze sheen the band used to coat their songs with. This is a more melody-focused rendition of The Raveonettes’ sound, and thus its emotional quality comes through more clearly. Observator’s noise-flecked pop in songs like the glorious closer “Till the End” relay a lonely sense of wonderment, like staring at the stars alone.

An old art school meets new art school dream collaboration comes to us from David Byrne and St. Vincent’s Love This Giant, which plays to the strengths of both artists with a dynamic, eclectic sound, immaculate production and deft arrangement. The Byrne-led “Who” calls to mind classic Byrne/Talking Heads with its quizzical delivery, while “Weekend in the Dust” makes St. Vincent’s Annie Clark into a worldbeat dance diva. “Dinner for Two” is a sublime duet, nicely interrupted by horn-work that dots the album and holds it together, especially coming into play on the funky pop of “The One Who Broke Your Heart,” featuring Antibalas and The Dap-Kings. “I Am an Ape” and “I Should Watch TV” find Byrne at his most satirical, while Clark shines on “Optimist,” one of her sweetest vocal performances to date. Some of the album’s middle tracks mesh Byrne’s and Clark’s styles so well, such as the clockwork sound of “Lazarus,” that a future collaboration to see how these two could get into even more interesting territory seems like a sure thing — at least we can hope, because Love This Giant already is a slyly rewarding gift from two artists, one over many years and one in just a short time, who have given us plenty already.

Calexico’s noir folk sound grows even more majestic on Algiers. The band’s eighth album finds them as confident in their sound as they’ve ever been, becoming more soulful, more embracing on tracks like opener “Epic,” which balances warm verses with a darker chorus. In particular, Joey Burns’ and Jacob Valenzuela’s vocals mesh beautifully on the propulsive “Splitter,” and Burns carries “Sinner in the Sea” through its spooky, spiritual setting of sparkling piano and minor-key guitar, suggesting the New Orleans setting the band has said helped inspire the record. Calexico have often evoked various times and places, namely the desert setting of their namesake, and Algiers can’t help but feel like the work of a band at some mysterious port-town dive, whether that be in New Orleans, Algiers or any number of Spanish-speaking cities, calling out Santo Domingo and strumming Spanish guitar in “Puerto” and going back to their mariachi-inspired roots on the Spanish-sung “No Te Vayas.” Surprisingly, Calexico’s globe-trotting, more pronounced than ever, holds together and doesn’t feel like dilettantism; rather, it helps not define Algiers by one specific time or place, instead conjuring unspeakable feelings of nostalgia and becoming lost in another culture. Wherever Algiers puts you, you know the feeling.

Over the opening sounds of steel guitars and a bouncing bass, Bob Dylan’s ever-growlier voice comes in like a train conductor from another time and we’re whisked away to an Amierca of yore in Tempest opener “Duquesne Whistle.” Tempest is classic Dylan, full of his trademark detail and skillful incorporation of various threads of classic American styles. Dylan and his band tunnel through the country blues of “Narrow Way,” as Dylan delivers irresistible lines in his rambling fashion like “It’s a long and narrow road/If I can’t work up to you/You’ll surely have to work down to me some day.” Tempest isn’t all dusky blues, though, as its ballad “Long and Wasted Years” is one of its best, Dylan offering romantic lament (“I wear dark glasses to cover my eyes/there’re secrets in them that I can’t disguise”). Tempest’s strongest moments come in its closing tracks, the immaculately detailed murder ballad “Tin Angel,” hopeful album closer “Roll on John,” and sandwiched between them the title tracks, an already much-discussed near-14 minute tale of the Titanic “sinking into the underworld” (and also, “Leo and his sketchbook”), over a stately mix of country blues and sea shanty, buoyed by transcendent violins that give pause to Dylan’s depiction of tragedy and what it brings out of ordinary people, good and bad. Tempest ends leaving listeners with renewed interest in the complexity of humanity, as the best of Dylan’s work often stokes our desire to know ourselves and others more deeply.

Along with Calexico’s Algiers, this week has seen a wealth of Western-inspired rock released. Guano Padano are an instrumental three-piece who move from nourish country (“One Man Bank”) to Middle Eastern-inspired surf rock (“Gran Bazaar”) to glitchy jazz (“Lynch”) and just about anywhere else their instruments can take them, incorporating your basic guitar, piano, bass and drums, plus banjo, eerie steel guitar, Chinese instrumentation (“Miss Chan”) and anything else that might seem appropriate while retaining their Spaghetti Western sound. Mike Patton shows up to lend his howling vocals to the dark “Prairie Fire,” and the band turns in a dreamy cover of Santo & Johnny’s “Sleep Walk,” but these moments aren’t even necessary diversions — Guano Padano’s cool, kitschy sound stands on its own, soundtracking imagined, unmade films and allowing the listener to explore their own interpretation or simply bask in the sound.

When you think of the typical retro RnB / soul revival type group, you tend to think of a well meaning musical ensemble who may earnestly attempt to recreate their favorite bygone musical era, but rarely match the sound and vibe of their soul heroes. Milwaukee's ten piece Kings Go Forth, who last Tuesday released their debut album The Outsiders Are Back on David Byrne's Luaka Bop label, instantly break that stereotype. Their sound, as witnessed on this all-killer, no-filler 10 track album, is a refreshing recreation of a 70's soul/funk vibe served up in an all new sound, pitch perfectly arranged, with crispy clean production, and infectious dance rhythms aplenty.

The group's name is drawn from the title of a 1958 Frank Sinatra/Tony Curtis film, and was founded six years ago by bassist Andy Noble and vocalist Black Wolf (a respected figure on the Milwaukee music scene since the 70's who was once part of The Essentials). The rest of the ensemble includes Dave Wake (keyboards), Dan Flynn (guitar), Jeremy Kuzniar (drums), Cecilio Negron Jr. (percussion), Jed Groser (trumpet), Dave Cusma (trombone), Dan Fernandez (vocals), and Matt Norberg (vocals & rhythm guitar).